Danger Canadian Content - Best of 2014

Before we start we need to explain that our
listings are only based on Canadian artists and
reducing these down to five in each category has
been a labour of love and unusually, a degree of
disagreement, especially around the Best Gigs
section where, due to the huge amount of gigs and
split attendance we differed considerably….
Indeed, given the number of gigs we saw over the
year and new releases we attended, it was a
surprise that we didn’t have a top 100 let alone a
top five! That said, once, we’d slugged it out
(over several beers), the verdict for Danger
Canadian Content’s best of 2014, in no particular
order, is as follows:

Best Gigs of the Year

Little Foot Long Foot
@ Cameron House -
April:

You are going it find this hard to believe
but, sometimes words fail you. The gig was the
last with Isaac Klein as drummer and their return
to the venue where Joan Smith and Isaac first
performed as a duo, bringing an end to their
symbiotic musical relationship, so to say that
emotions were running high as the set progressed
would be putting it mildly. The result was a
curious mixture of friends, family and fans, most
of which would appear to have followed LFLF
throughout their career. In time honoured fashion
new material was played as Joan takes LFLF into a
new space (see Best Releases). The set largely
drawn from ‘Oh Hell’ was masterfully performed
with Smith’s soaring vocals ripping the guts out
of each tune, while Klein’s drumming was the
perfect foil to a singer in full flow. The last
song ‘Missing the point’ was delivered heart
wrenchingly as it reflected the end of a long
emotional road. At the end I felt privileged,
honoured and exhausted to have been present, a
feeling that lasted for several days at the time
and which rightly warrants their place in this
list.

At the start of 2014, we saw Catl play in June’s
Records to a very small audience, so the move to
headline The Horseshoe for their latest CD release
was a major step in the right direction. Add to
the mix support from Mad Ones, Bloodshot Bill and
a promise from Catl’s guitarist, Jamie, that it
would be loud, we were provided with an explosive
set from one of the hardest working duos we’ve
ever seen. Before long the packed Horseshoe crowd
were as worked up as the band, with the tempo
rising as the set, drawn mostly from ‘This Shakin’
House’, but interspersed with Catl’s finest,
progressed. With the place in a gritty blues
sweatbox meltdown with ‘Gold tooth Shine’ and
‘Workin Mans Soul’, all that was left was to add
the backing dancers from the ‘Gateway Blues’ video
to join the stage and the celebration was
complete. We left sweaty, drained, euphoric and
slightly smug, knowing that Catl are the real
deal.

The Balconies
@ Horseshoe Tavern - May:

Let’s start by saying that this was part of the
re-dated Canadian Music Week season that saw The
Balconies appear at the Horseshoe. What was
remarkable here was the strength of the line up,
which included The Damn Truth, The Honeyrunners,
headliners Head of the Herd and the fact that The
Balconies blew them all away, seriously. We’ve
seen the band a few times over the last couple of
years and it’s true to say that from the moment
that their lead singer Jacquie, stalked onto the
stage to the moment they finished, they exuded
pace, power and passion, which was reflected by a
packed house with an adoring audience. The set
drew mostly from their debut album ‘Fast Motions’
and preceded a long tour, which won them more
friends, but on that night they performed at the
top end of the range, all night long…

Public Animal @
Bovine - July:

Perhaps it was the challenge of getting back from
London to Toronto in time to see Public Animal at
the Bovine or perhaps the fact that after the
teasers back in 2013, we were seeing a true
supergroup at their finest, but boy did this show
rock! Firstly it was LOUD, but not so loud that
the performance was lost in the mix. Public Animal
embody an edgy attitude that begs you to dislike
them, but a sound that won’t let you leave the
door. With Blurton’s screaming lead guitar and
Caitlyn’s keys and powerful haunting vocals
fronting the set, which was drawn largely from
their debut album ‘Habitat Animal’, the band tore
through a set that made every mile of the trip
worthwhile. There are no prisoners taken at a
Public Animal gig and the packed confines of The
Bovine suited them perfectly on this night, but
don’t expect to see them here too often, bigger
venues beckon.

July Talk @
TURF - July:

One thing that the DCC collective can agree on is
that July Talk are an exceptional live band, but
their showing at the Toronto Urban Roots Festival,
was nothing short of remarkable. Out of their
comfort zone, in broad daylight and faced with a
much bigger and dare we say sober audience than
usual, it could have gone badly wrong. It didn’t.
In terms of pure energy, the visual and physical
antagonism shown towards each other from Peter and
Leah and a set of (now) established songs, July
Talk added significant stagecraft to their
performance, teasing and cajoling the increasingly
vocal audience to remind them of the words at one
point, which was simple, but brilliantly timed and
executed. It is impossible to take your eyes from
the front two who appear to hate and love each
other at the same time with an intensity that
draws you in and keeps you there. A remarkable set
from an amazing band. If these guys are not on at
least the New Band stage at Glastonbury next year,
they should replace their management, end of.

Best Releases of the Year (2014)

Short, but sweet, these releases have been on our
playlist ever since we heard them and they’re
still there…. Again in no particular order we
present….

Biblical - Monsoon Season:

We never, repeat never,
play an album back to back once we’ve been through
the first playing, except in this case. With a
mere six tracks, but with over 36 minutes of
playing time, this is a stellar album and one
which reflects the intensity of their stage
presence. Awesomely powerful and with an addiction
that defies belief, Biblical cover a massive range
of rock genres, including Pink Floyd.

Standout Track: Monsoon Season.

Shawn Clarke -
William:

From a great set at TWimFest
to a permanent fixture, Chez Moose, the response
from people who’ve listened to the album, without
introduction, have included such comments as,
‘this is Paul Simon right?’ and more often ‘Wow,
who’s this?’ This is a superb album written by a
very talented singer writer, as recognised by his
success in the songwriter category in the annual
Now Magazine/‘Best of Toronto’ poll. Beautifully
crafted, played and sung, I defy you not to be
tapping your foot and singing the chorus to most
songs on first listening.

Standout Track: Sound of Ticking Tocking

Little Foot Long Foot
- Woman:

We’ve waited a long
time for this release and it was worth every
minute, as it represents an evolution from the
previous line up. ‘Woman’ has an increased
subtlety in terms of delivery with Smith’s natural
blues vocals being stretched in terms of range and
boy, does it work. Don’t get us wrong, it retains
all of LFLF’s usual ballsy rock and roll, but
there is more depth and completeness here overall
than in some of their earlier material. If ‘Woman’
is the new benchmark for LFLF and there is no
reason why it shouldn’t be, then the future is
bright.

Standout Track: Heavy

CATL - This Shakin’ House:

Lovers of Blues/Country/Rock will love this album as much as
we do. From the opening track CATL have produced
their most complete and consistent album to date
and it’s a beauty. Road testing the tracks from a
continuous gigging regime paid off handsomely and
‘This Shakin House’ retains that live feel
throughout with barnstorming foot stompers to more
measured an slower tunes. A permanent deck party
guest last summer, it’s still getting a lot of
play now.

Standout Track: FU Blues

Miranda Mulholland
- Whipping Boy:

We’d seen
Mulholland playing with NQ Arbuckle and curiosity
linked to a tremendous performance that night
ended up a random purchase of ‘Whipping Boy’,
which is stunning album. Ranging from great
vocals, through fiddle playing that could cut down
trees, to a jazz/blues club feel, every track is
brilliantly delivered. Mulholland’s talent and
versatility provide a platform for her crystal
clear vocals and haunting fiddle throughout, but
in a style that defies pigeon holing. At the end
of the day it’s the sheer variety of styles and
tunes on this album, from rousing Celtic tunes to
playing the 1940’s femme fatale and much more,
that make it difficult to take ‘Whipping Boy’ off
the player.